Bogart plays a man convicted of murdering his wife who escapes from prison in order to prove his innocence. Bogart finds that his features are too well known, and is forced to seek some illicit backroom plastic surgery. The entire pre-knife part of the film is shot from a Bogart's-eye-view, with us seeing the fugitive for the first time as he starts to recuperate from the operation in the apartment of a sympathetic young artist (played by Bacall) for whom he soon finds affection. But what he's really after is revenge.Written by
Mark Thompson <firstname.lastname@example.org>
Humphrey Bogart's complete uncovered face is not seen clearly until 62 minutes into the movie, when his character finally removes his bandages and looks into a mirror. All previous scenes with the character are either shown from his point of view or have his face obscured with shadows or bandages. See more »
During the final confrontation between Vincent Parry and Madge Rapf, she doesn't recognize him at first because he's had his face altered by plastic surgery. But she previously knew him well enough she should have recognized his voice immediately, even if it came from an unfamiliar face. See more »
[looking in a mirror after the bandages are taken off]
Same eyes. Same nose. Same hair. Everthing else seems to be in a different place. I sure look older. That's all right, I'm not. If it's all right with me, it ought to be all right with you.
Can you shave?
The doc said that I could.
Why don't you get dressed. I'll wait downstairs and sort of get a fresh impression.
See more »
Someone to Watch Over Me
Music by George Gershwin
Played on the phonograph when Parry comes downstairs See more »
Agnes Moorehead steals the show!
Even if she has only two or three scenes she steals them all.And it speaks volumes when the stars are Bogart and Bacall.
This is my favorite B/B among the four films they made together."The big sleep" has a plot I've never understood -Hawks used to say it was the same to him-,"to have and to have not" fails to excite me (Bogart a resistant and Gaulliste at that!"Key Largo",on the other hand, is a close second to Daves' movie .
Not that the subjective viewpoint/camera was that much new.Robert Montgomery filmed his hero the same way in 1946 ("Lady in the lake" ,and we only saw his reflection in the mirrors).Hitchcock knew the technique as well and he used it with virtuosity during short sequences.But Daves who is best remembered for his westerns ("broken arrow") pulls it off effortlessly.The depth of field gives a dreamlike atmosphere to the first sequences with Bacall and the surgeon -dream which becomes nightmare during the operation when Bogart sees in his bad dream all the characters involved in the story- There are plot holes of course,particularly Madge 's character .Parry is in Irene's house and presto here she comes.It takes all Agnes Moorehead's talent to give this woman substance.
The first third is Bogartless,as an user points out.But he could add that the last third is almost Bacallless too.
Only the ending,which I will not reveal of course ,is not worthy of a film noir!Maybe the producers imposed it.
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